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Instrumentação |
Piano, Voz |
Mir ist die Ehre (Presentation of the Rose - Full Duet Version)
Título por Autor: Mir ist die Ehre (Presentation of the Rose - Full Duet Version) from Der Rosenkavalier - Accessible Accompaniments Edition
Instrumentação |
Piano, Soprano, Mezzo-soprano |
Composição para |
Piano de Acompanhamento, Dueto |
Tipo de composição |
Partitura piano-vocal |
Arrajador |
Nicole DiPaolo |
Lírico |
Hugo von Hofmannsthal |
Editora |
Nicole DiPaolo |
idioma |
Alemão |
dificuldade |
Difficult |
Ano de composição |
1911 |
Gênero |
Clássico/Ópera |
The first of its kind, and the tenth entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable piano/vocal reduction of "Mir ist die Ehre," the famous Presentation of the Rose scene from Strauss's beloved opera Der Rosenkavalier (1911). This version contains both Sophie's and Octavian's parts in the original duet configuration. Thus, sopranos and mezzos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic and sometimes unplayable vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury.
In addition to the current version, a solo version for Sophie auditions is available as a separate PDF. To see a preview of the Sophie cut, please visit its MusicaNeo listing.
All Accessible Accompaniments, including this one, boast several unique features:
1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or “fudged” with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.
2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a “sink or swim” accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.
3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.
4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.
5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.
6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing “ß” with “ss” in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.
Mir ist die Ehre (Presentation of the Rose - Sophie-Only Audition Cut)
Título por Autor: Mir ist die Ehre (Presentation of the Rose - Sophie-Only Audition Cut) from Der Rosenkavalier - Accessible Accompaniments Edition
Instrumentação |
Piano, Soprano |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Partitura piano-vocal |
Arrajador |
Nicole DiPaolo |
Lírico |
Hugo von Hofmannsthal |
Editora |
Nicole DiPaolo |
idioma |
Alemão |
dificuldade |
Difficult |
Ano de composição |
1911 |
Gênero |
Clássico/Ópera |
The first of its kind, and the tenth entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable piano/vocal reduction of "Mir ist die Ehre," the famous Presentation of the Rose scene from Strauss's beloved opera Der Rosenkavalier (1911). This cut is also sometimes known as "Ich bin euer Liebden" because that is Sophie's first line. This version is specially designed for sopranos who would like to audition with Sophie's part as a solo aria, so Octavian's lines are incorporated into the piano reduction. Thus, sopranos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic and sometimes unplayable vocal score or decipher pasted-together cuts. Pianists may now enjoy playing this aria comfortably, without risking strain/injury.
In addition to the current cut, one in the original duet configuration (containing all of rehearsal marks 25-37 with beginnings and endings) is available as a separate PDF. To see a preview of the complete duet, please visit its MusicaNeo listing.
All Accessible Accompaniments, including this one, boast several unique features:
1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or “fudged” with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.
2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a “sink or swim” accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.
3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.
4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.
5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.
6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing “ß” with “ss” in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.
Wie Du warst (Octavian's Aria)
Título por Autor: Wie Du warst (Octavian's Aria) from Der Rosenkavalier - Accessible Accompaniments Edition
Instrumentação |
Piano, Soprano, Mezzo-soprano |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Partitura piano-vocal |
chave |
Mi (E) maior |
Arrajador |
Nicole DiPaolo |
Lírico |
Hugo von Hofmannsthal |
Editora |
Nicole DiPaolo |
idioma |
Alemão |
dificuldade |
Difficult |
Ano de composição |
1911 |
Gênero |
Clássico/Ópera |
The first of its kind, and the third entry in Nicole Elyse DiPaolo's Accessible Accompaniments series of aria reductions, this is a genuinely playable and piano/vocal reduction of "Wie Du warst," Octavian's famous aria from Strauss's Der Rosenkavalier (1911). Mezzos who love this aria no longer need to fear bringing it in for auditions, last-minute performing engagements, or other situations in which the pianist may have to sight-read from the chaotic and unplayable vocal score. Pianists may now enjoy playing this aria comfortably, without risking strain/injury. This edition also includes a two-measure recomposed ending four measures after rehearsal 25, making this edition a great choice for concert and audition situations in which another singer isn't available to sing the Marschallin's lines.
All Accessible Accompaniments, including this one, boast several unique features:
1. No reduction ever requires stretches of over an octave, not including bass notes meant to be held or “fudged” with the pedal (though octaves may also contain chord tones within them). This reduces the amount of rearranging that smaller-handed pianists must already do. Obviously, further reworkings are to be expected and pianists should feel free to add to or modify what I’ve provided.
2. I’ve included less essential, but potentially desirable additional voices/passages in cue-size noteheads so that pianists can easily see them, but know that they are not necessary in a “sink or swim” accompanying situation. Presenting less essential material in cue-size noteheads also reduces visual clutter on the page.
3. In addition to the composer’s markings, when needed, I have included hints on particular notes to bring out when the singer is likely to need them as a pitch anchor or when it is not obvious which line should be brought out within the texture.
4. All page turns have been carefully selected so as to result in the least possible disruption to the pianist when possible. When an inevitable page turn precedes a potentially surprising note or chord, I’ve included the next downbeat’s notes in cue-size stemless noteheads at the end of the preceding measure.
5. When known, I’ve noted alternate cuts that singers might like to take within certain arias.
6. In some cases I’ve modernized spelling conventions for easier readability (for example, by replacing “ß” with “ss” in German arias) and occasionally I've enharmonically respelled brief passages for greater clarity.
Instrumentação |
Piano, Voz |
Instrumentação |
Piano, Voz |
Da Geht Er Hin (The Marschallin's Monologue)
Instrumentação |
Piano, Voz |
Walzerfolge
Título por Autor: Walzerfolge Rosenkavalier
Instrumentação |
Trompa francesa |
Composição para |
Wind ensemble |
Tipo de composição |
Partitura completa, Partes |
Editora |
Dieter Angerer |
dificuldade |
Advanced |
duração |
3'10 |
Gênero |
Clássico/Ópera |
Die Walzerfolge aus dem Rosenkavalier für 6 Hörner in F
Tomasz Madej 16 mar 2014 12:32
everythin its ok
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